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Cyrus Shahan


Audible in the technological aesthetics of West German post punk is a 1980s strategy for escaping the political, cultural, and aesthetic contradictions of a nation trapped by the compulsion to, reconstruction of, and march toward a democratic state. Through the bands Die tödliche Doris and Pyrolator, this article locates potential sonic escapes from the canonical legacy of German experience in post punk’s technological turn. Against the confinement of the Federal Republic’s attendant freedoms, the logic of technologically driven post punk sought to avoid the hermetic fate of associative social forces past and to test the Federal Republic’s experiential limits of liberation and confinement.

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“I Don't Want to Spend My Life under a Toilet Seat”

Aspiration, Belonging, and Responsible Masculinities in the Lives of White, Working-Class Boys in a Youth Inclusion Program at the YMCA

Ross Wignall

young people. I conducted most of my research in the primary YMCA space in Hove, a dilapidated youth center composed of a central reception/games area, a sports hall, a dining/gaming area, a digital music center, a dance studio, a training/teaching room

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Mirjam de Bruijn

urban music scene that now, with digital equipment, became far more productive—and intensified the relations between the diaspora and local Chadians. Social media and digital music were thus added to my “field.” I anticipated that the youth would express

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Z. Hidayat and Debra Hidayat

investments and as part of their efforts to build a business. In her response, Lovasiana (22) described the devices she used in order to become a streamer by saying, “I became a streamer just the way I am, with an Android phone and a … digital music player in